A wild-haired Swiss drummer, Serge Vuille takes to the stage. Serge is a teacher at the Royal College of Music, and the latest musician to take Fiona’s seat in Martin Creed’s band. Tonight is Kammer Klang, or chamber noise, and Serge is introducing the acts.
- Flux Magazine, Nicholas Blincoe, 20th October 2014
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Michael Gordon: Timber ... featuring the outstanding talent of Serge Vuille ...
- The Guardian, Guy Dammann, 17th September 2014
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Der erste Abend von Nicolas Partys und Serge Vuilles dreiteiligem musikalisch- performativen Projekt "Three Elephants' Days" im Kunstverein startete mit dem "Puls", der die gesamte Partitur gleichmäßig durchzieht........Das Publikum ist hingerissen, die Spannung auf dem Kunstvereins-Vorplatz groß. Um 20.06 Uhr ist Schluss. Man hätte noch stundenlang zuhören können.
- General Anzeiger Bonn, Thomas Kliemann, 23rd August 2014
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Three Elephants Days from Spectrafilm.

Serge Vuille deserves a f****** COSMIC MEGA-MEDAL for his performance of Stockhausen's Himmels Tür @LCMF2014 this evening: amazing.
Leo Chadburn on Twitter, 29th May 2014

We watched in puzzlement as percussionist Serge Vuille beat with drumsticks on a large wooden set of double doors, tracing mysterious patterns of noise and gesture.
- The Telegraph, Ivan Hewett, 1st June 2014
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Swiss-born, London-based percussionist Serge Vuille's virtuosic performance of Himmels Tür (Heaven's Door), the fourth 'hour' of Stockhausen's unfinished 24 part cycle, Klang, carried the baton of Noh's spiky, spartan aesthetic in to the twentyfirst century. Performed on a unit of specially fabricated, paneled wooden double doors and floor, Vuille used an array of custom-made beaters, and shoes with metal inserts (similar to those worn by tap dancers), to articulate the rhythmic and tonal demands of the composer's prescriptive graphic score with breathtaking athleticism. Attacking and embracing different areas of the door and floor with a combination of balletic grace, hesitant restraint and aggressive stamping, Vuille finally gained access through the doors to enter a darkened chamber (shortly followed by the small girl scripted in to the piece) from which he released cacophonous cymbal and siren sounds in a chilling endpiece.
- London Jazz, Geoff Winston, 29th May 2014
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